RODRIGO VALDEZ HERMOSO
'RIELES 18.69 (Hommage to Mexican Nationalist Period)
'RIELES 18.69 (Homenaje al periodo Nacionalista Mexicano)
Symphony Orchestra / Orquesta Sinfónica

WORLD PREMIERE: 06/06/2013
"XXXV FORO INTERNACIONAL DE MÚSICA NUEVA / Manuel Enríquez"
INBA / CONCULTA / 2013
Orquesta Sinfónica del Estado de Puebla (OSEP)
David Hernández Bretón (Guest Conductor/ Director Huesped)
SAN PEDRO MUSEO DE ARTE, Puebla City, State of Puebla, México.


'RIELES 18.69 (Hommage to Mexican Nationalist Period) / Symphony Orchestra / 2013 (Live Take)

Concierto Voltaje for Timpani and Orchestra

Concierto Voltaje 3 Dual Forces

Concierto Voltaje para timbales y orquesta segundo movimiento: Campo Magnetico
Gabriela Jimenez Timbales
José Areán Dirección Musical
Orquesta Sinfónica de Minería

Concierto Voltaje 2 Campo Magnetico

Concierto Voltaje for timpani and orchestra
First Movement: Quantum Mechanics

Concierto Voltaje First Movement: Quantum Mechanics

reinvención

live audio bye Wapiti Ensemble 
2015

Work for Wapiti Ensemble inspired on the cicada killer wasp.
Violin -Genevieve Liboiron
Piano- Daniel Áñez

Sphecius  Wapiti Ensemble 1

IN BODY
Chamber Opera
Libretto: Ciprian Măceșaru
Music: Diana Rotaru

PREMIERE during the International Week for New Music, Bucharest
The National University of Music in Bucharest, The Opera and Multimedia Studio
May 27th, 2016
Live rec: The Romanian Radio Broadcasting Company (Calin Ioachimescu)

Cast:

HAMLET/THE STAG/THE MAN: Irina Ungureanu (soprano)
OPHELIA/THE WOMAN: Veronica Anuşca (soprană)

SonoMania Ensemble: Valentin Ghita (oboe, english horn), Mihai Pintenaru (clarinet), Raluca Stratulat (violin), Tamara Dica (viola), Eugen-Bogdan Popa (cello), Eliza Puchianu (piano), Alexandru Stroe (percussion)
Conductor: Diana Rotaru

“In Body” / “În Trup”, on an original libretto by Ciprian Măceşaru, is a poetic-surrealist meditation on the identity ambiguity: are we our body or are we what we think? How much does our gender matter? These thoughts are presented through the help of the damned couple Hamlet-Ophelia, each of them captive inside the other’s body. Hamlet’s masculinity is represented by antlers (the royal aggressiveness), while Ophelia’s femininity is suggested through flowers – that are also present in her famous death scene. The timeless, magical setting is rich in symbols (the stag, the forest, the light/darkness dichotomy, the lake, etc.). the four soloists represent the characters’ voices (Irina Ungureanu – Hamlet, Veronica Anuşca – Ophelia) and their shadows or “fake bodies” (Cristina Lilienfeld – Ophelia, Smaranda Găbudeanu – Hamlet). The center of the show hides an “opera-inside-an-opera” (another shakespearian allusion) that comments upon the social labeling of the Woman and the Man in a contemporary world. Diana Rotaru’s music (performed by SonoMania Ensemble) transposes the polysemy of the text in a postmodern sonic language that slides through oneiric, ritual, humour, drama and other narrative colours.

Scene 1: The Stag (Wordless Monologue)
Hamlet, in his Stag form. His antlers grow and multiply in a massive diatonic chord. He becomes increasingly overwhelmed and desperate and rips himself from the horns.
6:12 - Scene 2: The Forest I. The Lake. 
Hamlet and Ophelia, each alone, each troubled by their "new", "fake" body - that, they gradually discover (when seeng it in the Lake-mirror - 14:30), that incites attraction in them. The melodic profiles form a "cross" design: Hamlet- descendant, Ophelia-ascendant (the attraction of their real form).
19:13 - Scene 3: Ophelia
Ophelia's song, as well as her body, are gradually "devoured" by flowers (ornaments).
26:15 - Scene 4: Urban Mechanism ("Her and Him"). Rondo. 
Opera-inside-an-opera: the modern society with its absurd labeling and prejudices: the Woman-Mother and the Man-Warrior (who plays with his weapons as a child plays with toys).
32:34 - Meditatio (Love creates and destroys in a slow-motion, Vian-esque landscape)
37:00 - Interlude
39:40 - Scene 5: The Forest II
Hamlet an Ophelia decide (independently) to face the danger of Knowledge and leave the Forest.
43:58 - Scene 6: The Meadow
Hamlet (in his Woman-form) and Ophelia (in her Stag-form) finally see each other and are puzzled by the fact that they recognize themselves. The Author of the story intervenes (through a video projection ) and explains the characters that they must reconnect their destinies in order to become themselves again.
48:47 - Scene 7: Realisation. Tango. Finalis.
Ophelia remembers her previous, shakespearian death (indirectly caused by Hamlet) and kills him with his own antlers in a Death-Tango.

poster by Maia Manolescu


Diana Rotaru - In Trup - Chamber Opera

For ensemble
CEPROMUSIC Ensemble
Conductor : José Luis Castillo
December 10, 2015
Centro de las Artes de san Agustín
Oaxaca, Mexico

La dimensión frágil

For violin, violoncello, flute, clarinet and piano

Cepromusic

José Luis Castillo - Conductor

(Image: Two nudes and cat by P. Picasso)

Estudio sobre la memoria de un cuerpo (2007) - for five musicians

De los Discos: Tempus Fugit Pierrot Lunaire y Regards

El mundo según Shitao de Jorge Torres Sáenz. 2011

B L A N C O  for voice and piano, based on a text by Octavio Paz

Written for Sarah Maria Sun 

Commissioned by Festival Vértice, UNAM 2019
Premiered the 25/10/2019

'RIELES 18.69 (Hommage to Mexican Nationalist Period) / Symphony Orchestra / 2013 (Live Take)

VALDEZ HERMOSO

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